Rock Music goes further, showcasing a fully mature band turning out immense tracks that combine the best elements from their previous works. [Winter 2008, p.80]

Yeasayer capture this seemingly ineffable fear, dread, and paranoia with wide-eyed clarity throughout this astounding album.

Even though the stylistic diversity of the first album isn't present, it's hard not to get caught up in the dreamy spell that The Bees weave. [#7]

Yes, you could grab all of Bowie's massive discography, but his singles are so comprehensive that they stand out as a body of work on their own. Plus, Nothing Has Changed comes with the brand new song "Sue (Or In the Season of Crime)," which is remarkably unlike anything he's ever done before.

Ships reinforces the fact that he's a songwriter of considerable depth and pop craftsmanship, and this album is his most ambitious and accessible yet. [#13, p.84]

Here in the Pitch is another leap forward that sees her pushing into new realms with stunning effect.

In every sense, it is a union of its creators’ art and voices. It’s an album in conversation with their EP, with their inspirations, and with their solo work, resulting in one of the rare cases where the whole is truly greater than the sum of its parts.

Olausson’s quirky observations are only as good as the band backing her. And as it herks and jerks, skanks, and generally rocks the fuck out across A Hundred Things, it constantly reminds that Love Is All is one of the tightest pop outfits on the planet. [Year End 2008]

Constantly interesting, even exciting in many places, it reaffirms the long-held consensus that these two musicians have stardust in their fingertips. ... And whilst it may not be instantly identified as their best record, the longer you sit with it, the more deserving of that title it becomes.

A gorgeous pop album, to say the least. [#14]

Wall of Eyes is just as good an effort as any Radiohead album, and rivals the work its members have done in other projects. It’s a complete joy to watch these artists work, for their creative expression is a treasure.

Musically, In the Darkness is perhaps her grandest, most elegant work to date—a perfect culmination of her past experimentalism and deep devotion to graceful melodies that lift from the deepest parts of the soul up to the heavens.

A crowning achievement. [#9]

As a concept album, listeners will need to forgo Gainsbourg's typical mixed bag of song structures within an album in favor of more similar songs threaded with recurring musical motifs. [Spring 2009, p.80]

Magnetic.... There isn't an uninteresting song on the whole thing. [#5, p.110]

Baker is writing faultless songs that will always have a home in our hearts because finding comfort in even the saddest moments means we're still feeling. And if we're feeling, there's hope for us yet.

Saturdays=Youth contains some of the band's best songs to date. [Spring 2008, p.77]

In an era of scripted and calculated music, the fly-by-the-seat-of-their-pants Dirty Projectors thrill at every blind turn they barrel through. [Summer 2009, p.65]

Ultimately, her recent period of artistic silence and personal trials results in Julien Baker’s most masterful work to date. The expanded sonic palette reimagines the possibilities of her music and makes for Baker’s most dynamic work yet. What’s more, none of the impact of her heart wrenching lyricism is lost in the transition.

This collection shows that any fan of the slower side of Yo La Tengo, Luna, Mazzy Star and other bands that mine that Velvet Underground (circa their third album) derived slow, droning sound mixed with country-rock influence owe it to themselves to check this out.

Heaven to a Tortured Mind is strikingly disorientating at times, yet there is an immediate familiarity to it. This is rock reimagined for a new century, to use Tumor’s words, as thrilling and unpredictable as it must have felt during its heyday.

This is an elaborate, highly-thematic work for both artists; simply put, a fascinating excursion for Cocker's followers, and a must-listen for any devotees of Hollywood's Golden Age.

British post-punk ragers IDLES’ aggro take on “Peace Signs” works surprisingly well as it’s the furthest away from the style of the original whereas most of the other covers don’t deviate quite as far afield. Still, they are, like most of the best covers albums, representative of each artist’s individual styles and not just copies of the original, giving fresh new takes on familiar, well-loved material. As for the original release, it sounds as great now as it does back in 2011, the sound of a singer/songwriter honing her craft with a big voice, sharp pen, and an ear for instantly memorable tunes

Cartwheel is a big, bright, beautiful album. It uses familiarity to bring you in, scratch those indie rock itches, then fires up the pleasure centers with its dedication to sonic satisfaction.

Magnificent and starkly candid new album.

As always, Stevens' precise details makes his songs ring through with truth. [Apr - May 2015, p.87]

On HEY WHAT, Sparhawk and Parker, working again with producer BJ Burton, hone the sonic language they explored on Double Negative into a terrible swift sword that cuts like the Minnesota winter wind against the spectres that threaten their home.

There are multitudinous joys to be found here—humor, sadness, and warm, true tenderness, all enveloped in the delicate velvet of strange and magical pop music. It’s time H. Hawkline received the due kudos and love for his wonderful work.